The Intruder (L'Intrus) - Movie Reviews - Rotten Tomatoes

The Intruder (L'Intrus) Reviews

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½ February 3, 2018
Though the cinematography is impressive a film needs to do more than just look good to sustain attention for two hours, and this fails completely to engage on any other level. The biggest problem is that the characters barely talk - which makes it impossible to work out how they might relate to each other, to feel empathy towards any of them, or to discern anything approaching a coherent narrative. That isn't "deep", it's just bad storytelling. It's depressing to see so many critics lauding this film, as in my view it's the kind of thing that gives art cinema a bad name (and I like art cinema). You might as well stick a Rorschach blot on the screen - I'm sure many of the drooling critics would find that "profound" and "poetic" too.
January 19, 2013
While I appreciate minimalist dialogue, and it was cinematographically beautiful at times, I found this too slow and boring.
December 31, 2012
Beautiful vignettes connected to each other in obscure ways. Arresting sounds and visuals. Well worth the time. The French know how to make films.
½ February 14, 2012
This is so terrible, so pretentious, so silly that it's flabbergasting. The camera jiggles, and when something important is happening the camera jiggles even more, and it becomes very dark so you can't tell what happened. Maybe someone got hurt. Or killed. Or met a chipmunk. Impossible to know. Then the big music slows down again and you're somewhere else looking at other people. Probably people who weren't in the movie before. Lots and lots of different people. But a lot of time you don't actually see people. The jiggly camera focuses on stomachs, necks, that sort of thing. No one to root for. Nothing to hope for. You see a guy stop his car and shave with an electric razor. Not a clue, mind you, but the director found it interesting. It's a movie for people who are too insecure to admit they have no idea what's going on. Even if we were to find some answers, was it really worth all the trouble of watching garbage like this? Not a chance. I freely admit I wrote this review after viewing the thing for only about 45-50 minutes, but if this much of the film is absurd and foolish, can the rest save it? I felt it was my responsibility to warn others.
½ February 2, 2012
Did not make any sense.
½ September 20, 2011
i don't think the name of this film is ever explained in the film.
July 28, 2011
Enigmatic and powerful, Denis' elliptical journey into the isolation and redemption of Michel Stupor's near silent Louis is a masterful and truly ambiguous experience. Louis, a violently protective recluse who's cold, simplistic existence consists of relentless survival in a rural mountain cabin, the serenity of which is guarded fiercly by his Huskies and occasionally broken by discreet romantic visits, is a man estranged from his family and slowly dying of a heart defect. What begins in typical wordless, visually poetic Denis style, slowly builds to a tense and devastating conclusion as Louis' deteriorating health forces him to quickly search for his forgotten son in a foreign land while hopelessly rejecting his loyal closer family. Beautiful, visceral and utterly unforgettable, Denis carves out a bleak world of family pain and elderly regrets, the grimly real depiction of black market organ transplants brutally metaphorical of the consequences of family rejection and social incompatibility.
February 27, 2011
El corazón vive atrapado en el pecho y las costillas del ser humano, y cuando se realiza un trasplante del órgano es como si un intruso se apoderara del cuerpo, y si el cuerpo es raíz del alma la experiencia puede ser demoledora. La película de Claire Denis proyecta en imágenes el relato de Jean-Luc Nancy. Más que un film es una experiencia que sobrepasa su simple duración. El protagonista busca su resurrección en su hijo, pero esta continuación de la vida no ocurre en él sino en el rostro sonriente de la muchacha al final del film.
½ February 6, 2011
Excellent Travel trough the Globe by a Global Player!!! Wonderful Cinematoraphy, Pictures of the Nature & Soundtrack!!! It shows that People are the Same on the Whole World and contains lot of Dark Comedy like when he kill the Intruder, when the Hunters carry the Intruder away, the Immigrants running over the Street like Wild Boars and the Polynesias celebrating a Competion like in American Idol for finding a Fake Son to earn the Heir of the Global Player!!!
½ January 2, 2011
An extremely murky script and cinematography together doom this picture. As for the acting? Well, there really isn't any. The players are only occasionally glimpsed in the darkness. Some critic here who describes L'Intrus as "Impressionistic" is clueless.
October 4, 2010
Es gibt so viele verschiedene Wege, die man durch L'INTRUS gehen kann. Man kann (im buchstäblichen Sinne) dem Herzen folgen, oder man kann dem Geld folgen. Oder den Hunden? - Sich gegen jegliche geradlinige Narrativität oder überhaupt nur konsistente Welt versperrend, scheint L'INTRUS ein auf sehr bestimmte Weise delirierender Film. Ein Film über eine Form von Vampirismus, vielleicht, und darin durchaus TROUBLE EVERY DAY fortschreibend, ausdifferenzierend. Ein Film, der das Innerlichste und das Globale zusammendenkt, in dem Träumerisches, Symbolisches, Historisches, Gegenwärtiges und ganz Konkretes ineinander verschwimmen, im Mythos einerseits, andererseits im Körperlichen, das Kleinste und das Ganze, die Welt und das �berweltliche. Ein ungeheuerer, reicher, unmöglich in einer Sichtung zu greifender Film.
½ July 21, 2010
Too many dog's arses, I think it's a metaphor.
March 11, 2010
A waking trance. Or a lucid dream. Or a bath of pre-natal sound set to ravishing imagery. I don't know how Claire Denis makes a film as utterly unknowable as The Intruder. And I don't know how I sunk so deeply into such an impenetrable film. But then, she's nothing if not a paradox.
March 9, 2010
Claire Denis is one of cinema's great artists always providing interesting works (though I really disliked Beau travail). The Intruder was ignored upon release, but has seemingly found new life being regarded as one of the best of the decade. Beautiful and demanding filmmaking on its most basic level about aging and identity.
October 20, 2009
I felt a little bit like a frat boy watching this, as my recurring reaction to this film was that "the main character is such a dick." Not very insightful, I know, but a nonetheless apt description of a loner and terrible father who sets out for a new heart and a long lost connection with his son on a remote Tahitian island. I kept thinking about Marlon Brando while watching this (if you are familiar with his biography, you'll likely understand why), except that Brando didn't kill people (at least, not that I'm aware of). All in all, an interesting film with a sparse but effective score.
October 2, 2009
One of the most formally and aesthetically audacious films of this decade.
August 17, 2009
Aug 09 - I don't see the point. The narration, acting and disorganization left me bored.
July 27, 2009
"The Intruder" is what I call indefensible "art," a film masquerading as a piece worthy of analytical dissection that hides under its labels. It certainly looks like art. It is slow paced, subtly edited, mysterious, long and in a foreign language. The foreign language part is the key. Obviously I am writing from an American perspective in response to American critical reaction to the film. And I can fervently surmise that if any American filmmaker were to attempt the same style, plot and pacing in English as Denis' faux masturbatory transcendentalism, he or she would be laughed out of a career. Within critical circles, a film like "The Intruder" is too easy to laud. Frankly, however indefensible it may be, it's bullshit art; a series of random images that reach no conclusion, no resolve and no purpose in spite of its deference to plot. It is a film like this that scares novice cinephiles from expanding their worldview of film and understandably justifies populist entertainment. I may not know art, but I know what I hate.
July 16, 2009
Extremely difficult films make for extremely labored articulations of one's reaction to them, whether it's positive or negative or somewhere in between (read: this is a warning). I'd say I ultimately felt "net positive" about 'L'Intrus'. The film plays like a collection of moments waiting to be assembled into a coherent narrative. Finally though the coherence proves elusive, and the movie resolves into something like opaque, defeated indeterminacy. Still, Denis' modus operandi doesn't seem to be oneiric arbitration; rather, she seems to have made a concerted effort to "cover her tracks" with regard to clues signalling "correct" readings of the film, preserving all the while enough suggestive material to keep the film hanging together somehow. It's not as open-textual an experience as Lynch's 'Mulholland Drive', for example, and it's not the kind of ephemeral wallpaper-moviemaking that Derek Jarman occasionally traded in; no: it's not a rejection of narrative and it's not necessarily a frustration of narrative either... Ultimately I think 'L'Intrus' will elicit entirely personal responses, like a collection of elliptical scribblings (maybe scribblings found in the pocket of a dead man). To some this may be lazy storytelling, while to others this may be story enough and then some. If for no other reason this film should be glanced at for Agnes Godard's incredibly tactile images. The entire film bears some surface resemblance to the opening frames of Tarkovsky's 'Solaris'. If that doesn't get your eyes hungry, I don't know what will.
April 5, 2009
Visualmente y con ediciòn puntillosa, DENIS nos brinda una nueva obra para regocijo.
Un hombre cuyo corazòn debe ser intervenido, un hombre solo, viajante y adinerado, cerrando ciertos aspectos de su vida obligatoriamente y haciendo lo que place.
Narrativamente DENIS nos deja minuto a minuto insatisfechos, las acciones presentadas, si bien lineales, no culminan jamàs en algo concreto, debemos resolver como espectador cierta claves del desarrollo.

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